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Thomas Pynchon helped pioneer the postmodern aesthetic. His formidable body of work challenges readers to think and perceive in ways that anticipate--with humor, insight, and cogency--much that has emerged in the field of literary theory over the past few decades. For David Cowart, Pynchon's most profound teachings are about history--history as myth, as rhetorical construct, as false consciousness, as prologue, as mirror, and as seedbed of national and literary identities. In one encyclopedic novel after another, Pynchon has reconceptualized historical periods that he sees as culturally definitive. Examining Pynchon's entire body of work, Cowart offers an engaging, metahistorical reading of V.; an exhaustive analysis of the influence of German culture in Pynchon's early work, with particular emphasis on Gravity's Rainbow; and a critical spectroscopy of those dark stars, Mason & Dixon and Against the Day. He defends the California fictions The Crying of Lot 49, Vineland, and Inherent Vice as roman fleuve chronicling the decade in which the American tapestry began to unravel. Cowart ends his study by considering Pynchon's place in literary history. Cowart argues that Pynchon has always understood the facticity of historical narrative and the historicity of storytelling--not to mention the relations of both story and history to myth. Thomas Pynchon and the Dark Passages of History offers a deft analysis of the problems of history as engaged by our greatest living novelist and argues for the continuity of Pynchon's historical vision.
People rely on reason to think about and navigate the abstract world of human relations in much the same way they rely on maps to study and traverse the physical world. Starting from that simple observation, renowned geographer Gunnar Olsson offers in Abysmal an astonishingly erudite critique of the way human thought and action have become deeply immersed in the rhetoric of cartography and how this cartographic reasoning allows the powerful to map out other people’s lives. A spectacular reading of Western philosophy, religion, and mythology that draws on early maps and atlases, Plato, Kant, and Wittgenstein, Thomas Pynchon, Gilgamesh, and Marcel Duchamp, Abysmal is itself a minimalist guide to the terrain of Western culture. Olsson roams widely but always returns to the problems inherent in reason, to question the outdated assumptions and fixed ideas that thinking cartographically entails. A work of ambition, scope, and sharp wit, Abysmal will appeal to an eclectic audience—to geographers and cartographers, but also to anyone interested in the history of ideas, culture, and art.
As teachers well know, the elements that make Thomas Pynchon exciting to read and study—the historical references, the multilayered prose, and the postmodern integration of high and low cultures and science and literature—often constitute hurdles to undergraduate and graduate readers alike. The essays gathered in this volume turn these classroom challenges into assets, showing instructors how to make the narratives' frustration of reader expectations not only intellectually rewarding but also part of the joy of reading The Crying of Lot 49, Gravity's Rainbow, Mason & Dixon, and other Pynchon works, short and long. Like all volumes in the Approaches to Teaching series, the collection opens with a survey of original and supplementary materials. The essays that follow offer an array of classroom techniques: among them, ways to contextualize the novels in their historical settings, from Puritan America through World War II and the volatile 1960s; to use the texts to explore racial and gender politics and legacies of colonialism; and to make Pynchon's elaborate prose style accessible to students. Teachers will also find sample syllabi for courses solely on Pynchon as well as suggestions for incorporating his work into graduate and undergraduate classrooms at a range of institutions.
This book brings together nine original essays from Pynchon scholars around the world whose work furthers the debate concerning the nature of perceived shifts in the sensibility, style and subject-matter of Pynchon's fiction from The Crying of Lot 49 to Mason & Dixon. Of particular concern is the complex relationship between Pynchon's challenging and evolving oeuvre and notions of postmodernity which this volume's focus on Pynchon's most recent fiction helps bring up-to-date. Five of the collection's essays examine the writer's achievement in Mason & Dixon and were first presented in 1998 as papers at King's College, London, as part of International Pynchon Week. The volume includes contributions from renowned Pynchon scholars such as David Seed, David Thoreen and Francisco Collado Rodríquez, and offers perspectives on Pynchon's achievement in The Crying of Lot 49, Vineland and Mason & Dixon which view those works in relation to a fascinating variety of subjects such as hybridity, mapmaking and representation, the work of Marshall McLuhan, American comic traditions, metafiction, madness in American fiction, science and ethics. Reconfirmed throughout is the ethical seriousness of a writer who remains one of American literature's most fascinating, important and ever elusive figures.
Thomas Pynchon's writing has been widely regarded as an exemplary form of postmodern fiction. It is characterized as genre-defying and enigmatic, as a series of complex and esoteric language games. This study attempts to demonstrate, however, that an oblique yet compelling sense of the "political" Pynchon disappears all too easily under the mantle of postmodernity. Innovative and unsettling discussions of freedom, war, labour, poverty, community, democracy, and totalitarianism are passed over in favour of constrictive scientific metaphors and theoretical play. Against this current, this study analyses Pynchon's fiction in terms of its radical dimension, showing how it points to new directions in the relationship between the political and the aesthetic.
"Best remembered today as a novelist and political philosopher, Mary Wollstonecraft continues to challenge her present-day readers, as she did Virginia Woolf. Of all her writing the masterpiece is perhaps her last completed work, the epistolary travel narr"